The entrance exam consists of a practical and a theoretical part. You will have to be successful in both parts in order to secure a place.

The practical exam (audition)
For the practical exam we ask you to prepare:

- Two studies in contrasting character (melodic/technical), for instance by Bordogni, Kopprasch, Grigoriev, etc.

- One piece or movement with piano accompaniment. For instance:

  • E. Bozza - New Orleans
  • J. Koetsier - Allegro Maestoso
  • B. Marcello - 6 Sonatas (originally for cello) (first movement)
  • P. McCarty - Sonata (first movement)
  • G.P. Telemann - Sonata in F minor (originally for bassoon/recorder) (first movement)
  • E. Ewazen - Concertino
  • A. Lebedev - Concerto no. 1 (first movement)
  • E. Sachse - Concertino (first movement)

Works of comparable or higher level are also acceptable.

You might also be asked to participate in a short sight reading test.

The evaluation of the practical part of the entrance exam will be weighed by the following factors:

  • musical expression
  • technical realisation
  • potential
  • previous musical education

The combination of these factors is also of essential importance. Not (yet) being able to perform at an optimum standard is therefore in itself not a reason to prevent you from doing an entrance exam.

The theory exam

The theoretical part of the entrance exam consists of three sections: a written aural (hearing) test, singing from sight / performing a rhythm, and a general written theory test. The theory entrance exam is taken before the practical entrance examen.

written aural (hearing) test:

  • identification and naming of intervals and triads with inversions
  • notating a melodic fragment
  • notating a rhythmic fragment
  • notating a short two-part fragment

singing/rhythm from sight:

  • the prima vista singing of some melodies
  • the prima vista performing of some rhythms

general written theory test:

  • notation of rhythm and pitch in treble clef and bass clef
  • major and minor scales
  • intervals and triads with inversions
  • dominant seventh chord

Click here for theory exam examples